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As our resident Banshee reviewer, I was pleased to obtain the fourth and final season in my mailbox to screen. I respect the showrunners for allowing the series to go out on a higher note rather of operating the pulp spectacle into the ground. Soon after the botched heist at the finish of last season, Lucas Hood (Antony Starr) is no longer sheriff of Banshee, Pennsylvania, and instead nurses his wounds at a secluded cabin on gangster Kai Proctor’s (Ulrich Thomsen) home. In a bold and unexpected twist (do not read additional if you want to know completely nothing about the storyline of this season), catalyst-for-problems and sexpot Rebecca Bowman (Lili Simmons) has been murdered, which devastates Uncle Proctor and rattles Hood. Turns out the troubled woman comforted Hood in his time of need and was producing plans to branch away from her uncle’s organization. The season sees Hood browsing for Rebecca’s killer, fighting Neo-Nazis and reuniting with old buddies. This final, eight-episode run is an fascinating and suitable send-off for a wildly entertaining show.

Banshee has by no means caved to convention, and I have problems neatly summarizing its plot and merits when recommending the show to pals. It is violence, sex, humor, the Amish, cons, gangsters, Neo-Nazis, murder, seduction, and so forth. I was surprised Banshee killed off Rebecca, but it tends to make sense. She somehow became the most tragic figure in a internet of sin a lady plucked from her conservative upbringing and thrust into a corrupting planet. I consider now that Proctor was not in fact screwing his niece. The show hinted at the possibility final season, but the cold, tough gangster loves her in a distinct, significantly less carnal way. The hunt for Rebecca’s killer rapidly focuses on a satanic cult, led by horned psychopath Declan Bode (Frederick Weller), and Eliza Dushku swoops in to support as Unique Agent Veronica Dawson, a streetwise FBI profiler battling her own demons. Elsewhere about town, a new leader of the Aryan Brotherhood, Calvin Bunker (Chris Coy), emerges to battle Proctor for his business empire. Calvin’s brother, Kurt (Tom Pelphrey), is a gone-straight Banshee deputy, and he joins the new sheriff, Brock Lotus (Matt Servitto), to finally rid Banshee of its criminal underbelly.

This final season is as unpredictable, crazy and over-the-prime as ever, which is to be anticipated from Banshee. Proctor and Rebecca began to feud final season more than Proctor’s decision to allow the Aryan Brotherhood to operate his trafficking empire. Rebecca wanted the job, but Proctor had different plans. As soon as Calvin gets a taste of success, he starts possessing larger dreams. Complete of hate and unrestrained rage, Calvin is even far more hazardous than Proctor. Further complicating matters, Calvin’s wife Maggie (Casey LaBow) wants out of the life, and runs to Kurt for protection. There is, as usually, a lot going on this season. Also addressed are the kidnapped Job (Hoon Lee), Carrie’s troubled daughter Deva (Ryann Shane), and bar owner/Hood ally Sugar (Frankie Faison). These several plot threads might have tripped up a lesser show, but Banshee proves quick, furious and efficient in weaving all these characters into the drama.

If absolutely nothing else, Banshee is a distinctive show that will not be effortlessly duplicated. Cinemax is the perfect residence for such a gonzo, pulpy series. The violence, sex and depravity of earlier seasons are here, too, but they by no means really feel exploitative. This is an unrestrained show complete of terrible characters and ugly realities. The acting is again powerful, particularly from Starr, Thomsen and Dushku, whom I enjoy. In a decidedly Banshee move, Dawson is a wounded bird who turns to crack cocaine to ease her job anxiety, a habit she picked up working undercover on inner-city streets. The Bunker brothers’ storyline is surprisingly powerful, specifically when Kurt agonizes over how to deal with Calvin. When Hood reveals his ultimate deception to Lotus, the show delivers an additional surprisingly affecting dramatic moment. The secrets of Rebecca’s death are fitting for the character, and Banshee does a good job laying down clues with out revealing the killer’s motive until the intended moment. This fourth and final season of Banshee is a fine and fitting cap to a decidedly unique and entertaining series.

THE BLU-RAY:

Image:

If you have noticed my evaluations for the earlier 3 seasons, you can guess that this season’s 1.78:1/1080p/AVC-encoded transfers are exceptional. You’d be appropriate, as the HD presentations help the varied cinematography with outstanding clarity and fine-object detail. Sharp, crisp and clean, these transfers provide expansive wide shots, intimate close-ups and bold, completely saturated colors. Black levels are powerful, shadow detail is good, and pans are mostly clear. Other than some minor digital noise in nighttime scenes, these are stellar presentations.

SOUND:

The discs supply theater-top quality 5.1 DTS-HD Master Audio mixes. As explosive and immersive as a blockbuster action mix, the soundtracks offer outstanding dialogue reproduction and layering. Ambient effects like traffic, outdoor noise, and office chatter surround the viewer in every single episode. The frequent action effects are bone rattling, in the best way. Gunfire whizzes about the space, a vehicle wreck rocks the subwoofer, and an explosion levels the house theater. French and German 5.1 DTS dubs and a Spanish two. DTS dub are integrated, as are English SDH, French, German, Spanish, Swedish, Norwegian and Finnish subs.

PACKAGING AND EXTRAS:

This 3-disc set comes in a hinged Blu-ray case with two-sided artwork. Details about every of the eight episodes is listed on the reverse. The case slides into a cardboard slipbox with clever artwork that is thematically related to that of earlier seasons. As with earlier releases, you get Episode Recaps, Deleted Scenes, and a couple of Zoomed In featurettes, all in HD, as properly as two Audio Commentaries and Cast Retrospectives.

FINAL THOUGHTS:

This Cinemax series is some thing I stumbled upon without having prior understanding, but it turned out to be a single of my preferred shows of the final decade. This fourth and final season of Banshee is a fine conclusion for the show, and provides closure for the characters. The Blu-ray release is technically excellent and comes Extremely Advisable.

William lives in Raleigh, North Carolina, and appears forward to a Friday-afternoon matinee.

There could be no other theme song in the history as television as famous as The Beverly Hillbillies‘s musical ear-worm (“The Ballad of Jed Clampett” written by Paul Henning). The entire story of the show is captured in its simplistic, catchy lyrics: a “poor mountaineer” who could barely feed his family members goes “shootin’ at some food” and hits an underground well of “bubblin’ crude.” The subsequent thing he knows “ol Jed’s a millionaire” and absolutely everyone tells Jed that “Californy is the location you ought to be” so he gets his truck and household collectively and “moves to Beverly (Hills, that is)”. That’s the whole Beverly Hillbillies show in a nutshell: Jed (the late Buddy Ebson, Breakfast at Tiffany’s) is the patriarch of a the Clampett family, which consists of Jed’s daughter Elly May (Donna Douglas, Lover Come Back), Jed’s sister’s goofy son Jethro (Max Baer Jr, Macon County Line the last surviving member of the cast), and everyone’s preferred cantankerous grandma (Irene Ryan, O, My Darling Clementine). Following striking it rich on oil, Jed and his crew move into a swank Beverly Hills mansion and set up shop subsequent to Mr. and Mrs. Drysdale (Vertigo’s Raymond Bailey and Son of Flubber‘s Harriett B. MacGibbon), who invest the season scheming to preserve the Clampett’s wealth in the bank Mr. Drysdale runs, along with Drysdale’s loyal but decent assistant, Ms. Hathaway (Nancy Kulp, A Star is Born).

Your enjoyment of The Beverly Hillbillies: The Official Initial Season rests solely on how much you like gimmicky Television shows from the 1960s. Along the lines of Gilligan’s Island, The Addams Family, and I Dream of Jeannie, this is a fantasy stretched out to epic proportions. If you can think it, the show aired for practically a decade, finishing its run in 1970.

There is not a lot of depth here, as this is basically a one particular-note show that rides the premise’s joke—backwoods yahoos living among the wealthy elite—as far as it can go, and then requires it just a little bit additional. The humor comes from double entendres and watching the Clampett clan interact with anything that wasn’t a part of their dilapidated farm. The Beverly Hillbillies assumes the Clampett household are ignorant rubes, so it derives humor from their wonder at seeing items we take for granted—running water, coffee machines, and more. Their reactions are, “Hey appear, it is fancy shower! Or a fancy poodle!” or whatever the Clampetts can marvel at with wide-eyed redneck’d wonder.

Like any show balancing precariously on a thin premise, The Beverly Hillbillies gets by on the likability of its cast, a slew of character actors who endear themselves to audiences. Buddy Ebson makes for the least bumpkin of the crew, constantly trying to make certain his young daughter and nephew are taken care of and shown the way of the (California) globe. Max Baer, Jr. and Donna Douglas make for amusingly daffy supporting characters, each of them wild-eyed as they take in the Beverly Hills sights and mores that often confuse them (Jethro going to college, Elly Might going on a date). Emmy nominee Irene Ryan is sufficiently irritable as Granny, and for my money she’s the most amusing actor on the show (her screaming fits are nevertheless funny almost sixty years soon after the truth). Raymond Bailey and Harriett B. MacGibbon as the upper crust Drysdales are a mainly one particular-note fixture in the show, about mostly to provide Jed and the Clampett’s a foil to bound their cultural confusion off of. Finally, there is the kindly Nancy Kulp as Ms. Hathaway, who also feels like the moral heart of the show. She operates Mr. Drysdale, but is of sort-heart and considered “loved ones” by the Clampetts.

On one particular hand, The Beverly Hillbillies is as substantial as cotton candy and only twice as dense. This is not a show that makes us think quite deeply about society’s ills or the disparity in between wealth and the poor. The show was developed by Paul Henning, who also had a hand in Petticoat Junction and, to a lesser extent, the similarly themed Green Acres which reversed the premise by plopping a wealthy socialite couple on a rural farm. Henning seemed to recognize the worth in casting over scripts, given that it’s the actors who sell the sub-par material. Feel of it as a handful of notches under the classic Ma and Pa Kettle movies.

Every single episode is presented in 1.33:1 full frame. This is the very first time that the series has been given a proper DVD release, and it appears quite excellent. The transfers for each of these 36 episodes are clean, with a handful of tiny defects. The black and white contrasts are all solid and clear. The Dolby 1. Mono audio is a front heavy mix that attributes clear dialogue, music, and effects. The only bonus characteristics are the original network sponsor openings/closings on pick episodes, as effectively as an extended version of “The Clampetts Strike Oil” pilot episode.

The Beverly Hillbillies: The Official 1st Season seems like it was a lengthy time coming. Difficult to think this is the 1st time the whole initial season is seeing the light of day on DVD. I guess those hoping for Blu-ray have a lengthy wait ahead of them. Even though it can be a fun blast from the past, watching all 36 episodes in a row might melt your brain. I’d suggest spreading it out of the course of a couple of weeks (or months). Still, the performances and story lines are all silly and (at times) amusing. Fans of the series will surely eat up this new 5-disc set.

Judge Jim Thomas has just entered the 2016 Presidential race. What’s much more American than that?

Elizabeth: “We’re in trouble.”Philip: “I know.”

1 of the issues of living in the second Golden Age of Tv is that it is quite a lot not possible to hold up with all the excellent shows out there. Hell, with all the channels, it can be hard to even locate them. But I had heard good factors about the FX series The Americans, and so final summer I pulled up season 1 on Amazon Prime and began watching.

The last couple of minutes of the pilot was so tense I could barely breathe no doubt about it, I was hooked. So clearly, when 20th Century Fox left The Americans: The Full Third Season at my DVD Verdict dead drop place, I was 1 pleased agent. Er, judge.

It’s the beginning of the 1980s. Elizabeth Jennings (Keri Russell, Austenland) and her husband Philip (Matthew Rhys, Burnt) run a small travel agency in Washington DC. They live in the suburbs, have two youngsters, and are outwardly the image of the American Dream. In reality, Elizabeth and Philip are deep cover Soviet agents, using each trick in the book (and then some) to gather intelligence to help Mother Russia. Day in and day out, they strive to defend their identities from their kids, their colleagues, and Stan Beeman (Noah Emmerich, Super eight) the FBI counter-intelligence agent who lives across the street.

Here’s the thing. The Americans ought to absolutely not operate. The leads are utterly ruthless. They plot against the United States. They kidnap men and women. Philip has another identity, Clark Westerfield, who is “married” to Martha Hanson (Alison Wright, The Nanny Diaries), secretary to Stan’s boss at the FBI, Frank Gaad (Richard Thomas, The Waltons). Elizabeth and Philip are both stone killers. Tony Soprano would be appalled. But from the very first episode on, for all the political turmoil, for all the very carefully laid plots, the heart of the show is genuinely the relationship among Elizabeth and Philip. They have been introduced to one one more when they got this assignment, but after so many years the faux marriage has grow to be much more and much more true, and that puts their feelings for each other at odds with their duty to Mother Russia. And it is written so nicely and performed with such passion that when the dust settles, Evil Empire notwithstanding, you’re just hoping that these two crazy little ones can work factors out.

There is a lot going on more than the course of the season, there are a lot of characters in a lot of areas. Part of the show’s elegance is the organic nature of the plotting, the way that all of these disparate elements weave in and out. Some threads develop gradually, over the course of numerous seasons, whilst other individuals involve assignments that quickly go horribly, horribly wrong. The central arc for the third season entails the Jennings’ fifteen year-old daughter Paige (Holly Taylor). Paige is oblivious to her parent’s accurate identities, although she’s smart sufficient to have figured out that there one thing not fairly appropriate with her parent’s marriage. he KGB desires Elizabeth and Philip to contemplate recruiting Paige—since she was born in America, it will be less complicated for her to sooner or later get a job with government clearance. Elizabeth is all for the concept, but Philip is appalled at the idea. Their KGB handler, Gabriel (Frank Langella, Frost/Nixon), continues to press the issue, generating a rift between Philip and Elizabeth. The conflict is like any concerned parents who can not agree what’s ideal for their daughter.

For reasons passing understanding, The Americans has been largely overlooked by the key awards (it is like a Cold War relative of Gilmore Girls). Stellar writing, exceptional performances across the board and a fantastic recreation of the 1980s—but at the same time, it refuses to shy away from the less palatable components of the show’s central concept, resulting in far more than few seriously disturbing scenes, such as when, in the process of putting a physique into a suitcase for removal, the couple should break arms and legs to make the physique match. But hands down, the most jaw-dropping scene takes place when Elizabeth cracks a tooth in a fight with an FBI agent. The feds are monitoring dentist’s offices for a lady with a tooth or jaw injury, so Philip is forced to extract it himself. A scene that must evoke pictures of Laurence Olivier asking Dustin Hoffman “Is it secure?” turns into something totally unexpected, an all also rare moment of total trust and even intimacy.

The 1.78:1 common def transfer is nicely above average, but somewhat brief of spectacular. On the plus side, you get fantastic particulars and textures (all the greater to appreciate the fashions of the day), and for a show that has as a lot of dark scenes, there’s relatively small black crush. On the down side, colors appear a bit muted—though based on episodes on FX, that appears to be a stylistic option. The Dolby 5.1 Surround track is strong, allowing you to comply with hushed dialog and to get pleasure from the soundtrack, which borrows extensively from the radio playlists of the Reagan era.

Extras are distressingly slight: some deleted scenes and a single ten-minute piece focusing on Paige’s story arc. It really is a shame there is not far more. This is a show that begs for commentary tracks.

I really can not say enough very good factors about The Americans. It is original and compelling, both of which set it apart from most of today’s cookie cutter procedurals. If you have not watched it, you owe it to oneself to commence with Season 1.

Judge David Johnson has a time-share in Banshee if anyone’s interested. Anybody?

I’d like to say Banshee is the very best show you’ve never ever heard of, but by now it’s almost certainly protected to say that there’s sufficient of a cult following to free it from “hidden gem” status. As it enters the house stretch, Banshee: The Complete Third Season shows why it really is top of the meals chain when it comes to small screen noir pulp.

The story so far: Lucas Hood (Antony Starr), one particular-time felon turned Banshee sheriff, continues his masquerade as a lawman—all although eyeing “that 1 last score.” His allegiances are stretched when he develops a genuine relationship with his one of his deputies, testing his commitment to the heist life.

Meanwhile, Carrie (Ivana Milicevic), Lucas’s former flame and daughter of the vi vicious gangster Rabbit (the Massive Bad of the final two seasons) is living estranged from her household, operating a crap job at a diner and banging a deranged Army colonel in her spare time. And back in Amish gangster land, Kai Proctor (Ulrich Thomsen) maneuvers to tighten his grip on the lucrative criminal enterprises in Banshee.

But almost everything is set to go up in flames when a psychopathic tribal leader from the Redbones gang goes on the literal warpath, bringing death and violence to Lucas and his friends—which in turn ushers Lucas into a new vortex of brutality.

Which translated into: damn fine Tv! Oh yes, believe it: Banshee: The Full Third Season delivers almost everything fans of the show have come to really like about this over-the-leading masterpiece. In truth, there are two episodes contained within this overall-excellent providing that represent the finest the show has to offer you, both on the pulpy guilty pleasure end and the you-know-forget-the-bloodshed-and-nudity-this-show-is-genuinely-excellent side.

* “A Fixer of Sorts”—Lucas finds himself in the clutches of a morbidly obese gangster who travels in the back of a tractor trailer, while also dealing with a rogue FBI agent who knows his secret, although withstanding torture from a thug making use of one thing that appears like an electrified Energy Glove. Meanwhile, 1 of the all-time greatest fights ever choreographed transpires in Kai’s driveway. All of this in about 50 minutes of runtime, a quintessential Banshee episode filled with over-the-leading colorful villains and gore. Pulpy. Guilty. Pleasure.

And…

* “Tribal”—The greatest Banshee episode to date and some of the finest episodes of tv you will ever see. It is essentially “Assault on Precinct 13” with some surprisingly successful emotional gut-punches. Plus it introduces Bunker (Tom Pelphrey) in a massive way, a reformed Nazi hunting for a job as a cop. Prime-grade Tv all around.

These two episodes are worth investing in this season by themselves, but, thankfully, there is even more meat on the bone. I won’t divulge something, but the Redbones conflict, Proctor’s (oft-bloody) politicking and that psycho colonel play prominent roles, all top to a compelling final scene—and some intense anticipation for the series swan song.

Banshee is a show that pops in HD, but if DVD is your only choice, it will suffice. The normal-def set serves up all episodes in 1.78:1 widescreen, joined by a 5.1 Dolby Digital mix. The generous amount of extras contain: “zoomed in” mini-featurettes, segments on the fighting choreography, the iconic title sequence and the huge, violent finale, deleted scenes, commentary on pick episodes and the “Banshee Origins Microseries.”

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Both Amazon Immediate Video and iTunes have Really like &amp Mercy (2015) to rent in HD for $ .99

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Right after the success and/or notoriety of 1982’s Tron 1 of that film’s producers teamed with veteran Television showrunner Glen A. Larson (Knight Rider) for a video game-ish Tron-like encounter for tv. Therefore in the fall of 1983 we got Automan, a digital superhero for the earliest days of the computer age.

Walter Nebicher (Dezi Arnaz Jr, The Mambo Kings) is the LAPD’s official personal computer specialist, who longs for action in the field. He creates a plan that is a model of the perfect crimefighter. Thanks to hologram technology, this plan escapes the personal computer and requires on physical kind, named Automan (Chuck Wagner, America 3000). Now, Automan and Walter catch the crooks in secret, with coworker Roxanne (Heather McNair, Madhouse) in on their secret and veteran cop Jack Curtis (Robert Lansing, Empire of the Ants) taking credit for their victories.

Automan isn’t a great series in any sort of highbrow criticism sense, but boy is it a lot of silly enjoyable. All the pc talk is hilariously outdated, with computers becoming noticed as some thing newfangled and mysterious. Walter is the only individual who knows how they function or even what they are, and this tends to make computers akin to magic—able to do something the writers want them to. This extends to Automan—short for “automatic man”—who is usually tweaking and adding to his programming, with a ridiculously extended list of powers and skill sets. We also have Cursor, an actual cursor from the computer screen come to life, which can summon vehicles, clothing and weapons for Automan.

Just how effective is Automan? Let’s see if we can compile a starter list…

* The combined knowledge of hundreds of genuine and fictional crimefighters, such as Sherlock Holmes, James Bond, and Magnum, P.I.

* He can turn incorporeal, so bullets pass via him and he walks by way of walls.

* He and Walter can merge into a single particular person, defending Walter from danger.

* He can fire electrical energy from his hands, shorting out electronics and stunning enemies.

* He can speak to computer systems, convincing them to do anything he desires.

* With Cursor, he can summon a number of futuristic automobiles out of thin air. These are normally the cool Autocar or Autocopter, but there’s also an Autobike and Autoplane.

* Cursor can turn into devices to aid Automan, such as a higher-tech gun or even a rockin’ electric guitar.

* Cursor can produce any kind of clothes for Automan, permitting him to fit in even though undercover.

It appears to me that just any 1 of the above bullet points is adequate to make Automan an amazing superhero. With all the above—and more—combined, he’s entered Superman-level “he can do anything” territory. He occasionally needs to recharge, so there’s some weakness, but all round Automan is so strong that the villains of the week do not stand a possibility. There is virtually a sitcom-like really feel to the crimefighting, so that the final battle in any given episode is not cool action but a comedic “what crazy way will he cease the bad guys this week?” feeling.

Dezi Arnaz Jr. appears like a likable, down-to-Earth guy, but he and the show’s writers don’t appear to have a manage on Walter. He’s initially portrayed as the nerd—brainy but awkward. He’s the comic relief, but never ever really acts as the comic relief. As the show goes on, Arnaz plays Walter significantly less like the nerdy sidekick and more like Mannix. Walter is too often the difficult guy, even busting out acrobatic karate moves against thugs. I can not fault the actor for wanting to be the heroic lead, but I really feel the series loses sight of who Walter is as it goes along.

As for our title hero, Chuck Wagner plays Automan with a straightforward, practically childlike earnestness. In spite of his supposed ultra-genius intellect, he has a lot to learn about human interaction. As a result we get a lot of “he doesn’t understand simple feelings” stuff, like what they constantly did with Data on Star Trek: The Next Generation. A couple of instances, Automan waxes philosophically on the nature of humanity and technologies, but mostly he’s about undertaking good deeds and attempting to pass as human. This is where most of the show’s humor and even its plotlines come into play. The villains-of-the-week are generic crooks, and the crime cases exist only to get Automan and Walter in a new predicament every single week. See Automan go to Vegas, see Automan tangle with bikers, see Automan join a rock band, see Automan turn into a male stripper (no actually), and on and on. Actor Chuck Wagner is a huge musical theater guy, so the writers and producers gave him plenty of chances to show off his dance moves. This speaks to Automan being more of a comedy superhero than a hardcore crimebuster.

For the supporting cast, they’re not given as significantly to do as our heroes, but they get some moments to shine. Heather McNair is adorable with her huge ’80s hair and even larger ’80s shoulder pads, but it would have been good to see her get in on the action some more. Gerald S. O’Loughlin (In Cold Blood) plays the angry shouty police chief. He gets lots of laughs by not understanding computer systems, calling them stuff like “that box of bolts.” There are lots of recognizable faces among the weekly guest stars, including Patrick McNee of the original The Avengers, go-to villain Billy Drago (The Untouchables) and singer Laura Branigan performing her song “Hot Night.”

The other co-stars are, of course, the cars. These were—and almost certainly nonetheless are—the huge promoting point for age 10 and under male viewers. The Autocar was a sleek Lamborghini Countach, and its super-speed and lightning-quick 90-degree turns were mainly developed in the editing room. The Autocopter was a Bell Jetranger, accomplished up to appear in the very same blue-and-black style as the vehicle. The Autoplane, meanwhile, was totally a specific impact. Speaking of which, mention should also be made of Automan’s glowing blue suit, which was a nice combination of effects and costuming,—though he does not wear it as often as you’d believe. All these vehicles and effects created Automan one of the most pricey Television shows on the air at the time, which is what led to its Season 1 cancellation.

All thirteen episodes that make up the whole series are on this 4-disc set from Shout! Factory, the connoisseurs of all that is pop culture cool. Image high quality is largely good, if a tiny soft. Audio can be flat at times, but never ever disastrously so. The highlight of the extras is a 42-minute documentary about the show, in which actors and the show’s creators speak about it with considerably affection whilst also getting open about what didn’t function. From there, we get three onscreen text pieces exactly where you can study a lot more about the show, two stills galleries, and a trailer for fellow ’80s series Manimal, which shared some stock footage with Automan.

I’ve written a lot of unfavorable things about Automan right here, but the truth is I got a true kick out of the show. It really is flawed, but also endearing in how earnest it is. It’s the finest of ’80s cheese.

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